Showing posts with label Folk. Show all posts
Showing posts with label Folk. Show all posts

Sunday, November 24, 2013

Michael Wohl - Home Recordings v. I [2013]


This tape was in my mailbox last week so here I am telling you about it. Michael Wohl plays folk/blues in a style that's not usually touched by anyone under the age of 70. That's not a slight; what I mean is when you hear the term 'folk' these days your mind's more likely to conjure Joni Mitchell or Dylan (or, if you're a tool, Fleet Foxes or some such lifeless swill), and 'blues' is understood to be even more sonically restricting. My point here is that a long time ago, folk and blues were understood to be one and the same, and it was in fact redundant to call it by both names. Anyway, the sounds on here are of that school, solo guitar music channeling the likes of Skip James, Blind Lemon Jefferson, and John Fahey. In fact the fourth tune, the traditional 'Poor Boy Long Ways from Home,' borrows from an arrangement by Fahey.
Growing up, I heard quite a bit of folk and blues from the latter half of the 20th century, but once in a while my dad would put on something closer to this, and I always found it mesmerizing. The pure moods distilled into self-accompanied chord melodies have a transportive quality. There's a fear in me that despite the all-encompassing archival nature of the internet, music like this is at risk of being lost. So I'm glad Wohl is out there, still making it heard. Maybe it'll move some of you to pick up a guitar and learn to play like John Hurt.

Stream/order here.

Friday, October 11, 2013

Tommy Jay - Tall Tales of Trauma [1986]


Here's a bit of weirdo psych-folk for the proud losers to jam on this Friday night. Tommy Jay is one of the pioneers of the Central Ohio underground. He and a few other outsiders like Mike Rep formed some of that state's first punk bands in the early-mid '70s, carrying the torch of Lou Reed and the 13th Floor Elevators on through the '80s to light the way for everyone from Guided By Voices to Thomas Jefferson Slave Apartments to Pink Reason. But don't take it from me, take it from the anonymous crowdsourced writeup I found on lastfm:
Tommy Jay is legendary — whether writing songs and playing drums for Mike Rep & the Quotas (or The True Believers farther back), or collaborating on a number of Nudge Squidfish self-releases — but even as an equal in the now legendary Ego Summit, his contemporaries' main projects (V-3, Thomas Jefferson Slave Apartments, Bassholes) outshined Jay’s dark horse status. Only now does one realize that his "Novocaine" was the fulcrum of the entire project. He was the poignant, coherent, folkie among a barn full of well-medicated genius.
The balance between these crisp psych-folk nuggets and direct contact with the lunatic fringe (be it “little black jelly beans,” blotter, or blue oyster cults) make cult record Tall Tales Of Trauma a rewarding time warp through twelve years of Central Ohio lore. In the record’s earliest documents (circa ‘74, Timberlake) The Velvet Underground’s influence is obvious, not just on the cover of Ocean but also in "I Was There," a jangly, kaleidoscope of bittersweet pop that never edits his repeated guitar freak-outs. Into the 80’s the specter of Lou Reed (or perhaps more referentially precise, the echoes of Mayo Thompson) loomed large in Jay’s voice, phrasing, and tragic moods evoked, still the mysticism of Harrisburg is the overwhelming resonate. May I be crucified for such statement, but Tall Tales is infinitely more colorful and strange than any Reed solo venture (save Berlin), because it’s the quirky folk record Reed never made. It tip-toes around Indian burial grounds, abuses cheap-drug in dingy basements, chronicles the lives of gypsies, tramps, thieves, murderers, the village idiot and the quintessential anti-hero in all of us (who may or may not still live on Weber Rd.). 
Back to that lunatic fringe — the cast of characters Jay surrounded himself with give the songs their creepy (and often beautiful) skin. Squid’s pedal-steel synth on "Memories" transforms it into dim-lit neon honky-tonk or the flute and harmony provided by Jennifer Eling and Mike Rep respectively on the Joni Mitchell cover "Dreamland" is the closest thing to Laurel Canyon sunshine these ears have heard in the Columbus Discount Records pantheon.
Fans of the more acoustic-y side of J.T. IV would be well-advised to get ahold of this one. For more on the Central Ohio underground, see this post on WFMU's Beware of the Blog.

Thursday, June 6, 2013

re-up'd: Robert Pete Williams - Louisiana Blues [1966]


I don't know how I have gone so many months without posting this record. It differs from what people are stuck calling 'the blues' in that the songs mostly ride along and hop over a single chord in bopping, fingerpicked strides. Robert Pete Williams played some top-shelf southern/delta shit and his story is as fascinating as any bluesman's:

Discovered in the Louisiana State Penitentiary, Robert Pete Williams became one of the great blues discoveries during the folk boom of the early '60s. His disregard for conventional patterns, tunings, and structures kept him from a wider audience, but his music remains one of the great, intense treats of the blues.
Williams was born in Zachary, Louisiana, the son of sharecropping parents. As a child, he worked the fields with his family and never attended school. Williams didn't begin playing blues until his late teens, when he made himself a guitar out of a cigar box. Playing his homemade guitar, Williams began performing at local parties, dances, and fish fries at night while he worked during the day. Even though he was constantly working, he never made quite enough money to support his family, which caused considerable tension between him and his wife; according to legend, she burned his guitar one night in a fit of anger. Despite all of the domestic tension, Williams continued to play throughout the Baton Rouge area, performing at dances and juke joints. 
In 1956, he shot and killed a man in a local club. Williams claimed he acted in self-defense, but he was convicted of murder and sentenced to life in prison. He was sent to Angola, where he served two years before being discovered by ethnomusicologists Dr. Harry Oster and Richard Allen. The pair recorded Williams performing several of his own songs, which were all about life in prison. Impressed with the guitarist's talents, Oster and Allen pleaded for a pardon for Williams. The pardon was granted in 1959, after he had served a total of three and a half years. 
For the first five years after he left prison, Williams could only perform in Louisiana, but his recordings -- which appeared on Folk-Lyric, Arhoolie, and Prestige, among other labels -- were popular and he received positive word of mouth reviews. In 1964, Williams played his first concert outside of Louisiana, at the legendary Newport Folk Festival. Williams' performance was enthusiastically received and he began touring the United States, often playing shows with Mississippi Fred McDowell. For the remainder of the '60s and most of the '70s, Robert Pete Williams constantly played concerts and festivals across America, as well a handful of dates in Europe. Along the way, he recorded for a handful of small independent labels, including Fontana and Storyville. 
Williams slowed down his work schedule in the late '70s, largely due to declining health. The guitarist died on December 31, 1980, at the age of 66. 
(from allmusic)


Fans of Charley Patton or Robert Johnson would dig Williams, and probably know him already. If you've ever heard the Captain Beefheart song 'Grown So Ugly' (or, I guess, the Black Keys' cover of it), you'll recognize the original version here. Listen, I really shouldn't have to try to convince you; this is essential, and punk as it gets.

Baby this ain't me

Wednesday, March 27, 2013

re-up'd: Аквариум - Акустика [1982]


Here's an album I've really been digging lately. Russian folk from the last decade of the Soviet Union. Aquarium (alternately known as Akvarium) was formed in 1972 by Boris Grebenshchikov and Anatoly Gunitsky. The band spent the first decade or so of its life doing mostly apartment concerts -- house shows with high political stakes in a country where "rock and roll" needed explicit state approval to play in the official concert halls. Aquarium is much more of a folk band though, in the style of бард "bard" music, which had since the 1960s referred to original music (one name for the genre is самодеятельная песня, literally "do-it-yourself song") by musicians who worked outside the Soviet musical/cultural system. From Wikpedia:
The first six years of Aquarium's history lacked cohesion as Grebenshchikov and his various bandmates followed the Soviet equivalent of the hippie lifestyle: playing apartment jams, drinking the low-quality port wine available from the Soviet stores of the time, and intermittently travelling to remote gigs, even hitchhiking on rail freight cars.
The album Akustika was made at the start of the '80s, just before the state music industry started allowing this kind of stuff to be more widely disseminated. It contains a dozen-plus real pretty folk numbers, mostly on acoustic guitar plus bass, violin, and the occasional flute. In contrast to a lot of the kitchen-recorded stuff by Yanka Dyagileva or Grazhdanskaya Oborna, this album is fairly high-fidelity (and a lot less noisy than GrOb), thanks to Grebenshchikov's access to academic recording facilities. The songs clearly demonstrate the influence of Bob Dylan on Grebenschikov, and Allmusic associates Aquarium with the likes of Neil Young, Nick Drake, Joni Mitchell, as well as Dylan of course. By the second half of the decade Aquarium were selling millions of records, which speaks to the popularity they garnered in their first 15 years of existence.

Boris G. is a huge name in Russian music, and when you hear his voice and songs it's not hard to understand why. Check out this video of Aquarium in what looks like a TV performance from 1986:


I should mention that I was turned onto this stuff by fellow St. Petersburghers Sonic Death (a band I can't recommend enough), who did a few Grebenschikov songs on their Boris Session EP, released in the summer. Needless to say the material is good and their take on it makes for some righteous jams.

Buy Akustika on CD at UkrMedia
My house is already not my home

Friday, January 25, 2013

Jacob Faurholt - Geek Love Is the Best Love [2012]


Take a listen to Jacob Faurholt's music and you'd probably assume he's holed up in some medium-sized town in Ohio, laying down finely-crafted Americana in a bedroom. You'd only be half right, because it's beaming to you from a Dane in Berlin. Anyway, regardless of location, these songs are real well-realized, mostly wistful ballady tunes of past lovers and their associated nostalgia -- you know, music for when yer feelin' down and want to stay there a while. Hints of Daniel Johnston and the whole Dylan/Young school of singer-songwriters are apparent (when he sings "I'm guided by voices, not the band" it sounds like he's channeling the capital-B Band as well as Robert Pollard's group). I've been spinning this EP quite a bit the past couple months, and it definitely rewards repeated listens.

Geek Love Is the Best Love was released in association with Raw Onion Records. It's up for free on bandcamp, along with a slew of releases going back to 2005. So if this is your kind of thing, dive on in.

Tuesday, January 22, 2013

Bernays Propaganda - Igraj Slobodno! [2012]


Bernays Propaganda are a band from Skopje, Macedonia. Since 2007 they've been creating post-punk music you can -- gods forbid -- dance to, with words you can -- if you know Macedonian -- raise a fist and get pist with. Any band that names itself after the dude who applied psychoanalysis to marketing in order to transform propaganda into the public relations industry is going to have a fairly up-set view of politics; but few things are as aggravating as a political band whose lyrics don't go beyond lazy sloganeering. Thankfully these folks write more from a perspective of personal struggle in the context of social and political relations, and are much better off for it. Musically, they are punk rock for the Club, weird as it feels to say; they lie somewhere among LCD Soundsystem, early Liars, or Soviet rockers like Kino.

Igraj Slobodno! is an album of remixes, collaborations, and covers of Bernays Propaganda songs from their previous two full-lengths. The people sitting in on this are as varied as they are esteemed. My favorite track is the version of "I Care Not to Know" by cult breakpop act ZEA (aka Arnold de Boer, lately also singer of the Ex): a glitchy, acoustic skeleton of the original which underpins the paranoid vocal. Other highlights are the two versions of "Buldozer" by Gang of Four's Mark Heaney and "the oldest active Macedonian jazz band," Sethstat. Each take the tune to very different places: the former makes it into something you might hear at a rave, the latter a stomping jazz number with cool vibraphones and a brass section. Overall a real great set if you aren't instantly averse to dance floor stuff.

This one is available from bandcamp for free, as hinted by the translation of the album title: play freely! Check out the original versions of the songs on the other two albums up there, as well as a song from their forthcoming third full-length, Zabraneta planeta.

Monday, January 21, 2013

Ø+yn - He resucitado en la montaña [2011]



I've sat on a lot of submissions over the past year, so over the next week I'll be trying to get them posted with some sort of regularity. The music that people have thought to send me in 2012 runs he gamut from downer bedroom pop to raging basement punk with much noise, electronics, and general freakiness in between. So without further ado:

Okay, so this one actually came out in late 2011, but it was sent to me back in August of 2012 so it fucking counts. Ø+yn (pronounce it 'Omasin') play music for you to get weird to in the Sierras de Córdoba. Combining acoustic instruments and percussion with electronic drones, these freaky Argentine folks conjure up Hindustani-influenced raga jams punctuated by the holy howls of their (and your) ancestors. The album has a globe-searching, improvisational vibe not unlike some of This Heat's stuff, but Ø+yn take it in wholly different directions. I especially dig the shamanistic interpretation of acoustic/electric violin, with its haunting melodies that dissolve into drifting feedback wisps. The songs are in the six- to eight-minute range, giving you plenty of time to explore. Drink some ayahuasca and get into this!

He resucitado en la montaña was released by Winebox Press, with some pretty-lookin' wood packaging. Get at them to see if they have any copies still available. Catch Ø+yn on soundcloud and bandcamp for more freak folk jams.

Murmullo de cascada abrasiva

Friday, December 7, 2012

Dog Faced Hermans - Hum of Life [1993]


Sometimes I'm shooting the shit about music with someone or having some other idle conversation, and one of us will mention Dog Faced Hermans. Inevitably we'll both crack a grin of having the shared knowledge of the band. Because they're criminally overlooked among your Sonic Youths and Chumbawumbas of the late '80s/early '90s. Their sound really cannot and should not be aped -- much in the same way that Can made music that was singularly Can, the Hermans' music was a convergence of four personalities whose expression at all times openly defied the restrictions of a 'style' that might be copied or clotted into some fad subgenre. Musical and philosophical connections with the Ex are readily discernable, as Andy Moor was playing with these guys in Scotland for years before he joined up with those Hollanders, and the two bands frequently collaborated and toured together.

"How We Connect" is a perfect example of what makes the Hermans so great. Stomping, bassy drums, excavator-engine bass, aggressive horns, and guitar that scuffles and screes on a no-wave frequency, only to stop on a dime and change to something resembling West African highlife. And then there's Marion's vocals. She never really yells so much as sings fiercely, with a poetic clarity that demands your attention and thought. Definitely a good LP band, because these folks know how to exercise song dynamics (for all the experimentation the Hermans engaged in, they wrote good songs, first and foremost). They close this album with Ornette Coleman's "Peace Warrior," a rollicking punch in the gut of a cover that fuses free improv jazz with punk in the most brilliant and intuitive way.



Hum of Life has been out of print for a long time, but in 2009 the vinyl was reissued on Mississippi Records, a very cool-sounding establishment in Portland. I don't know if it's still available, and the store/label's web presence is rather scant, but see if you can get in touch with them to find out: their facebook page has their contact info. For those of you who aren't registered on that NSA shadow site, there's always the old-fashioned physical location/phone number:

Mississippi Records
4007 N Mississippi Ave
Portland, Oregon 97227
(503) 282-2990

Mystery lies in the space between us, I make sound which approaches language

Saturday, December 1, 2012

VA - Ethiopian Soul and Groove [1960s-1970s]


Just look at the cover. I shouldn't even have to try to persuade you about this comp. As was true for a huge portion of the world by the late 1960s (Cambodia, Iran, Peru, Japan, and much of West Africa stand out in my admittedly limited experience), Ethiopia had been permeated by American jazz, r'n'b, and rock music, only to spit back out their own take on the stuff. Ethiopian musicians tended to blur the lines dividing these genres in the US, and the results are pretty fantastic.

A few of the more famous guys on here include Mahmoud Ahmed, Alèmayèhu Eshèté, and  Gétatchèw Mèkurya (who fans of the Ex are probably familiar with). But the whole tracklist is stacked with funky psyched-out tunes that naturally incorporate the region's folk melodies thanks to a tendency to play traditional songs in popular styles. Musical influence from Somalia, the Arabian Peninsula, and North Africa via Sudan can be heard -- though what do I really know about that? Just give this one a listen:



Buy Ethiopian Soul and Groove at Dusty Groove
Yegenet Muziqa

Wednesday, November 21, 2012

VA - DeKalb Brawl City [2012]


This comp arrived in my mailbox some weeks ago, and finally I can share it with you. For those of you who don't live in Illinois, DeKalb is a town at the western extreme of Chicagoland, out on the Emperor Reagan Expressway. It's isolated enough from Chicago to have grown its own punk scene in the past few years, and the label Don't Panic, It's a Distro have assembled this compilation of the town's premier DIY artists. Sounds range from the thrashpunk of Sick/Tired (featuring members of MK Ultra & Weekend Nachos) to the World Inferno-infused ska stylings of Danger Boy to the blink-and-you'll-miss-it electronic glitch of Gonzo Violence to the folkpunk of Davey Dynamite ... you get the idea. For a comp with such a variety of genres, one might be tempted to write it off as being 'all over the place.' Truth is, it works together really well. Usually you can't pay me to listen to metal, but when the tracks from Minimum Wage Assassins and Baptism came on, I actually kept listening. It's possible you won't dig every track on here, but there's definitely something for everyone.

1. Hasta Lumbago - Race Car
2. Turbo Vamps - For My Boys
3. Sick/Tired - Sky High
4. "Richardson" Richardson - Beard Option / Incestuous Scene
5. Danger Boy - Dinosaur Neil
6. The Stockyards - Dead Roses
7. Minimum Wage Assassins - Chopped Up Burnt Left for Dead
8. MZRCDXVL - Pace
9. The Rales - First World Decay
10. Nobelium 102 - Unicorn Genocide
11. Davey Dynamite (& Friends) - Up and Down (Live from College Ave)
12. Gonzo Violence - Ghetto Tactics
13. Seasonal Men's Wear - Ice Climbers
14. Baptism - Ezway
15. A - DeKalb Raw Pity
16. Sleeping Under 47 - Rain Comin'
17. Jim Crowbot - DeKalb Brawl City


DeKalb Brawl City - listen/download here
Don't Panic, It's a Distro

[p.s. - 100th post! here's to the next hundred]

Tuesday, November 20, 2012

Divine Intervention Now - Demo [2012]



I just heard this from Ongakubaka and felt compelled to pass it along. Doom-laden lyrics delivered in a captivating folk-pop fashion. This is some masterfully played stuff from one Phillip Mahoney over in Philadelphia. He calls it a demo but the production is razor sharp. I don't want to talk your ear off on this one, you should just listen.

If you want to shell out $20, you can get a copy of the album sent to you in a unique beetle-shaped flash drive. To quote Mr. Mahoney:
After the coming apocalypse, only the bugs will remain. Contains full five-song demo, lyrics, original image for playback display, and the full text of Erich Von Daniken's "Chariots of the Gods."

Short of that you can download the songs for free on bandcamp. Highly recommended.

Sunday, November 18, 2012

Roselit Bone - Live at Ella Street Social Club [2012]


I had already been digging these outlaw countrypunks' knife fight tunes for a while by the time one of them sent me a submission. Roselit Bone plays apocalyptic folk songs that bring to mind the likes of a Beefheart or Tom Waits. Or even Man Man, to cite a more recent example (mostly in the vocals). Shit must look pretty dire from up in Portland for these fellows to conjure the haunting mood present on this live set. Roselit Bone seem like the kind of band that is best heard whilst staring into an empty glass of hooch in a dim saloon. It's not all drunken gloom, though. Maybe the standout of these tunes is 'My Coward Heart' -- a ballad in a classic style (chord melodies!?) that is refreshing to hear.



This 7-song set was released on cassette back in the summer. You can order it for $5 on Roselit Bone's bandcamp page, or download a digital copy, PWYW. Do yourself a favor and get into this.

Wednesday, August 1, 2012

bdphones - Turning Off (Love Songs) [2012]


Okay, so this tape dropped onto the web a couple months ago and I've been continuously meaning (and subsequently forgetting) to post it. For those of you who haven't read my previous Bedphones post (just click the link already), the now-named bdphones plays some rather beautiful pop songs that are hard to pin down stylistically. It's not that the music jumps around a lot; it's more like you can hear that the guy has a lot of original ideas and cool influences that he channels into these very unique, gorgeously-produced, hypnotic folk ballads augmented by synthesized guitar, mandolins, electronic rhythms, and vocals that arrive on your ear's doorstep with a haunting melancholy. I honestly can't recommend this enough, so if you trust anything I ever say about music, dear reader, do yourself a favor and snatch this release. Damaged outsider pop jams, these are, in the best way possible.

Turning Off was released digitally (fo' free) back in May but it doesn't appear to be available yet physically. In the meantime, you can acquire all manner of quality DIY wares from SSF Tapes, who puts out bdphones' music.


bdphones bandcamp
bdphones soundcloud
SSF Tapes bigcartel

Tuesday, July 31, 2012

Faust - Something Dirty [2011]


I don't know that I need to make any introduction here ... with Faust you kind of know what you're going to get, even when you don't. They've been in the experimental game for some four decades now, and all the recent stuff I've heard from them has been top-shelf. When I listen to Faust, I mostly go for the textures rather than songs -- though they have no lack of great songwriting -- because they are master producers, repurposing all manner of sounds for musical utility. Anyway this disc is a good'n, sounds great as usual.


Something Dirty sounds pretty great as a continuous piece (and fairly well-pissed-off much of the way, too), but the 13 songs are undeniably different from each other. And that's all I'll say; nobody should have to convince you to listen to Faust.

Buy Something Dirty at Bureau B's Faust page
It's so much better when you're gone

Monday, July 9, 2012

Davey Dynamite - Some Thoughts [2011]


Saw this fellow in a Champaign basement a few nights ago, and since he gave me this CD for free I'm passing it on to you. Davey Dynamite hails from Dekalb, Illinois and plays some of the best folk punk around these days. He barks out a Johnny Hobo rasp with the sincerity of Phil Ochs, but without the former's druggy nihilism or the latter's newspaper headline lyrics. The politics Davey sings about are more personal, which is probably why he resonates with so many people. I don't know what more to say about this guy, other than that he's a grade-A Nice Dude, can ably carry a tune and conjures up some clever lyrics that will probably get stuck in your head and make you feel all warm inside. It's all very heartfelt, but before you start getting down on me about this hokey-folky bullshit, remember the wise words of  G.I.S.M.: "punks is hippies."

You can download this album and the rest of Mr. Dynamite's stuff for free (+ pay what you want, you know the drill) at the bandcamp link below.


Davey Dynamite bandcamp

Wednesday, July 4, 2012

Sonic Death - Gothic Session EP [2012]


For those of you who dug the recent Wavepool Abortion post, here's some more '60s-indebted fucked-up rock and roll from a Russian two-piece. Compared to that band, though, Sonic Death have a darker, more folkish sound. Perhaps you could say Sonic Death are the Stooges (I'm thinking 'Gimme Danger') to Wavepool Abortion's Beatles -- or perhaps neither of those bands resemble these. In any case, the vocal harmonies and acoustic chord changes make some great tunes with that world-weary resignation that Russian bands are so good at communicating. The Gothic Session EP came out five months ago, and has been pretty frequent in my rotation since I heard it around that time.

According to the fellows at Aphonia Recordings, this is what the band had to say about making this record:
After a little break we started work on a new session. Seven fresh songs were recorded on a Tascam cassette Portastudio, sitting in the already known bathroom. At this time we used a clean slightly reverbed guitar sound, the drum section was shaded with maracas. The sound is soft, psychedelic vibrating, like The Cannanes meet Vivian Girls on The Seeds cover party. The lyrics are all about dark love emotions and solitude. All of this has been called GOTHIC SESSION. The first track with the western spirit and refrain “I take off all of me/ You will not get pleasure” is entitled ‘Pleasure’ and is like a roll call with Stones ‘Satisfaction’. The second called ‘Now (Son Of A Bitch)’ and has at the end the converted quotation from Misfits “I am goddamn son of a bitch/ you better think about it baby”. Third song named ‘Marzipan’, and has a sample from an amateur slap porn video, whose plot is about pining for the attention from a girlfriend. The fourth acoustic-postpunk song ‘Streets’ laments the loneliness in the city. Fifth ‘To Me’ is classic garage-y amateur guitar rock. The sixth track ‘Huuuh-uuh-uuuh’ is an acoustic ballad for two voices. The last one ‘Floor’ is a confluence of The Jesus and the Mary Chain with Buddy Holly and back again. On the cover, we photographed against a background of the crucifix as Bible sellers in East European chic.


Gothic Session is available at Sonic Death's bandcamp for a mere $5 of your mortal money. They also have a self-titled release for $0, and while they're both good, Gothic Session is the better set.

Tuesday, May 1, 2012

The Ex - 1936, The Spanish Revolution 2x7" [1986]


Happy May Day, comrade. It's a holiday that is widely uncelebrated in my country, even though it is meant to commemorate the Haymarket Massacre, which of course happened in my hometown. According to Wikipedia, the US government instead assigned May 1 such comical/Orwellian names as 'Americanization Day,' 'Loyalty Day,' and 'Law Day.' In any case, if you've got the day off or are working an 8-hour day (rather than a 14-hour day, or at least getting overtime pay), you've got unions, socialists, and anarchists of past generations to thank for it.

For today's post I give you the Ex's 1936, the Spanish Revolution double 7". Those who know the Ex can probably already attest to the beauty of this release, but I'll get to that in a minute. First I want to talk about the revolution itself. It was a pretty special thing; it's not every day that ordinary people come together to create a relatively well-implemented anarchist economy and society. If you just want to take free music without learning anything cool, or if you're a Spanish Revolution historian, jump to the bottom. The overview is a little lengthy.

The context in which the revolution took place would be a pretty good place to start. Up to the 1930s, Spain was a largely preindustrial country controlled by wealthy landowners, the Catholic Church, and a series of monarchs and military dictators. Meanwhile, revolutionary fervor was brewing. Through the turn of the 20th century anarcho-syndicalism grew popular in rural Spain, and to a lesser extent in cities as well. The industrial sector was particularly rife with labor conflict. Strikes were a regular occurrence, and were often violently broken. Many thousands of workers were jailed or killed in numerous strike-busting clashes with bosses, police, and the military. In 1910, the CNT (Confederación Nacional del Trabajo), Spain's national anarchist labor union, came forth from a series of similar previous organizations. The militantly revolutionary FAI (Federación Anarquista Ibérica) was formed in 1927, following an exasperating decade of postwar economic turmoil that would be exacerbated by the coming worldwide Depression.

In 1931, the Second Spanish Republic came to power, consisting of a "largely self-appointed group of leaders of several small parties that had been formed within the past two or three years."1 The most pronounced change was the rise of anticlerical hostility, as the new government began to dismantle the Church's political authority. Though socialists were initially well-represented in the coalition government, things had swung to the right by 1934 with the rise of the monarchist pro-Catholic CEDA party, and many of the initial reforms were undone. This was contemporaneous with the rise of the Nazi Party in Germany, the Dollfuss regime in Austria2 and on the tails of substantial rightward shifts in Italy and the USSR. Socialist and anarchist miners in the northern Asturias region staged a rebellion/general strike that was viciously crushed by military forces led by General Francisco Franco. The shelling decimated the capital city of Oviedo. The rebellion was followed by intensified repression consisting of political executions, mass jailings (on the order of 30,000-40,000)3, wage cuts, and counter-reform.

Franco led the Army of Africa in a coup against the Second Republic on July 17, 1936, marking the official start of the Spanish Civil War. It was in this period of wartime instability that the anarchist revolution materialized. In the days following the coup, the CNT mobilized the workforce to take control of the factories, foundries, and transportation infrastructure, as well as organizing militias. Noam Chomsky summarizes (better than I can) the revolution in his 1968 essay "Objectivity and Liberal Scholarship":
During the months following the Franco insurrection in July 1936, a social revolution of unprecedented scope took place throughout much of Spain. It had no "revolutionary vanguard" and appears to have been largely spontaneous, involving masses of urban and rural laborers in a radical transformation of social and economic conditions that persisted, with remarkable success, until it was crushed by force […]

The left-wing socialist leader Largo Caballero had demanded in June that the workers be armed, but was refused by Azaña. When the coup came, the Republican government was paralyzed. Workers armed themselves in Madrid and Barcelona, robbing government armories and even ships in the harbor, and put down the insurrection while the government vacillated, torn between the twin dangers of submitting to Franco and arming the working classes. In large areas of Spain, effective authority passed into the hands of the anarchist and socialist workers who had played a substantial, generally dominant role in putting down the insurrection.

The next few months have frequently been described as a period of "dual power." In Barcelona, industry and commerce were largely collectivized, and a wave of collectivization spread through rural areas, as well as towns and villages, in Aragon, Castile, and the Levante, and to a lesser but still significant extent in many parts of Catalonia, Asturias, Es tremadura, and Andalusia […] The revolution was "apolitical," in the sense that its organs of power and administration remained separate from the central Republican government and, even after several anarchist leaders entered the government in the autumn of 1936, continued to function fairly independently until the revolution was finally crushed between the fascist and Communist-led Republican forces. The success of collectivization of industry and commerce in Barcelona impressed even highly unsympathetic observers such as Franz Borkenau. The scale of rural collectivization is indicated by these data from anarchist sources: in Aragon, 450 collectives with 500,000 members; in the Levante, 900 collectives accounting for about half the agricultural production and 70 percent of marketing in this, the richest agricultural region of Spain; in Castile, 300 collectives with about 100,000 members. […]

The period of July through September may be characterized as one of spontaneous, widespread, but unconsummated social revolution. A number of anarchist leaders joined the government; the reason, as stated by Federica Montseny on January 3, 1937, was this: ". . . . . the anarchists have entered the government to prevent the Revolution from deviating and in order to carry it further beyond the war, and also to oppose any dictatorial tendency, from wherever it might come." The central government fell increasingly under Communist control -- in Catalonia, under the control of the Communist-dominated PSUC (Partit Socialista Unificat de Catalunya) -- largely as a result of the valuable Russian military assistance. Communist success was greatest in the rich farming areas of the Levante (the government moved to Valencia, capital of one of the provinces), where prosperous farm owners flocked to the Peasant Federation that the party had organized to protect the wealthy farmers; this federation "served as a powerful instrument in checking the rural collectivization promoted by the agricultural workers of the province." Elsewhere as well, counterrevolutionary successes reflected increasing Communist dominance of the Republic.

The first phase of the counterrevolution was the legalization and regulation of those accomplishments of the revolution that appeared irreversible. A decree of October 7 by the Communist minister of agriculture, Vicente Uribe, legalized certain expropriations -- namely, of lands belonging to participants in the Franco revolt […] The decree compelled tenants to continue paying rent unless the landowners had supported Franco, and by guaranteeing former landholdings, it prevented distribution of land to the village poor […]

The second stage of the counterrevolution, from October 1936 through May 1937, involved the destruction of the local committees, the replacement of the militia by a conventional army, and the reestablishment of the prerevolutionary social and economic system, wherever this was possible. Finally in May 1937 came a direct attack on the working class in Barcelona (the May Days). Following the success of this attack, the process of liquidation of the revolution was completed. The collectivization decree of October 24 was rescinded and industries were "freed" from workers' control. Communist-led armies swept through Aragon, destroying many collectives and dismantling their organizations and, generally, bringing the area under the control of the central government. Throughout the Republican-held territories, the government, now under Communist domination, acted in accordance with the plan announced in Pravda on December 17, 1936: "So far as Catalonia is concerned, the cleaning up of Trotzkyist and Anarcho-Syndicalist elements there has already begun, and it will be carried out there with the same energy as in the U.S.S.R." -- and, we may add, in much the same manner.

In brief, the period from the summer of 1936 to 1937 was one of revolution and counter-revolution: the revolution was largely spontaneous with mass participation of anarchist and socialist industrial and agricultural workers; the counterrevolution was under Communist direction, the Communist party increasingly coming to represent the right wing of the Republic.4

[end Chomsky]
After the Communist-controlled, USSR-funded Republic government had effectively suppressed and disarmed the anarchists and socialists, who had constituted a significant proportion of the initial defenders against Franco's rebels, it proceeded to lose the war against Franco, who would go on to rule the Spanish State as a authoritarian dictatorship until his death in 1975, at the ripe old age of 82.

The sad stuff is not what I really want to emphasize, however. What is important about this piece of history is the social revolution that took place: a wide-reaching transformation of society to anarchist organization. The revolution can be broadly divided into two main parts: collectivization of industry and collectivization of agriculture.
Industrial collectivization began within hours of the Fascist uprising. Workers in Catalonia "seized control of 3000 enterprises. This included all public transportation services, shipping, electric and power companies, gas and water works, engineering and automobile assembly plants, mines, cement works, textile mills and paper factories, electrical and chemical concerns, glass bottle factories and perfumeries, food processing plants and breweries."5 Major changes in the organization of the tramways dramatically increased service while lowering fares. Similarly, anarchist organization of the vacated medical system (which had been run by priests and nuns prior to the revolution) introduced socialized medicine to thousands of Catalonians who had never before had access to a doctor in their lives. Wages were mostly equalized across industries, "and ex-bosses given the option of leaving or working as one of the regular workers, which they often accepted."6 The revolution also saw the introduction of many women to the workforce, though they still had to contend with domestic work and were paid less than men. In any case, industrial collectivization demonstrated the capacity of the workers to run their own factories without falling into the "chaos" typically attributed to anarchist organization.

Agricultural collectivization was even more extensive than the collectivization of industry, largely because most of Spain's workers were still farmers. While the collectivization was viewed as dangerous and harmful by small- and medium-level farmers (and, obviously, the owners of large landholdings), the majority of landless peasants welcomed the change. Historian Burnett Bolloten describes the process of rural collectivization:
A CNT-FAI committee was set up in each locality where the new regime was instituted. This committee not only exercised legislative and executive powers, but also administered justice. One of its first acts was to abolish private trade and to collectivize the soil of the rich, and often that of the poor, as well as farm buildings, machinery, livestock, and transport. Except in rare cases, barbers, bakers, carpenters, sandalmakers, doctors, dentists, teachers, blacksmiths, and tailors also came under the collective system. Stocks of food and clothing and other necessities were concentrated in a communal depot under the control of the committee, and the church, if not rendered useless by fire, was converted into a storehouse, dining hall, cafe, workshop, school, garage, or barracks.7
Wages (which often took the form of coupons rather than money) were based on the size of the family and the amounts of food and supplies they needed. Resources that were locally abundant were distributed freely or traded with neighboring collectives. Although there were reported instances of forced collectivization, this was not the norm. Small landowners who opted not to join the collectives were given enough land to support themselves but were not allowed to hire laborers, and were denied the social/economic benefits given to members. Large numbers of small farmers were thus compelled to join the collectives based on economic pragmatism rather than threat of violence.8 The Chomsky essay quoted above cites reports that production increased in many of the rural collectives.
Neither the industrial nor agricultural collectivization was perfect – in fact, there were a number of problems (see the Siedman book linked below). But imperfection has hardly stopped us from accepting massively worse systems, such as the one that is in place now. I am fascinated by the positive aspects of the Spanish revolution, and it gives me hope that similar experiments might be possible today (probably in developing countries, which serve as the best approximations for 1930s Spain).

Which brings me to the records themselves. In 1986, the Ex recorded four songs to commemorate the 50th anniversary of the revolution. Two songs are sung in English, and two are in Spanish. They are versions (or syntheses) of folk tunes sung by CNT-FAI partisans and those who aligned with them. Some of the words date back to earlier struggles, such as the defense against Napoleon's 1808 invasion. The Ex's arrangements of the songs fit snugly into the infinitely mutable realm of 'Ex-music,' and these are in fact some of my favorite Ex songs. The original release housed the two 7'' discs in the front and back covers of a 144-page book compiling scores of CNT archival photos from the period of 1936-1939. It is a labor of love, as Begemot over at La Folie du Jour elaborates:
The Ex does not pretend to have accomplished a historical or scientific task, and they make this clear soon enough. They also deny any claim of objectivity: "…Thus [the foto collection] it is a compilation: neither chronological nor objective, but one-sided, partial and subjective. Only from the anarchist’s side…" Instead, they point out their aim, which has a double character: firstly, to show "…how much pleasure, imagination, devotion and energy the Spanish anarchists put in their effort to destroy once and for all the damned class of boots, ties and crucifixes…", the fact that this attempt to revolution "…saw an explosion of creativity which only takes place when you're finally able to conceive of something and follow through on it –to arrange your own life without hate and greed, without competition and oppression…" and finally how this effort "…was immediately [attacked], terrorized and destroyed by the state and the bourgeoisie…" Secondly, their aim is targeting to diagnose the similarities between the Spanish experiment and the present: "…For us the Spanish revolution is not just an event or incident, not just a chapter in a history book. It’s an attempt similar to what we are doing now: trying to get rid of this imposed shit system…" With that, the conclusion comes by the Ex as an afterword: for them, the anarchist experiment of the 30’s shows that "…it certainly is possible to bring an anarchist society into practice…''.


Buy the Spanish Revolution 2x 3" CD + book direct from the Ex
For no one is a slave

Links of interest:

References

1. Stanley G. Payne. A History of Spain and Portugal, Vol. 2. "Chapter 25: The Second Spanish Republic." 1973 Madison: University of Wisconsin Press. p. 630.

2. Ibid, p. 635.

3. Gabriel Jackson. The Spanish Republic and the Civil War, 1931-1939. 1967 Princeton: Princeton University Press. p.161.

4. Noam Chomsky. "Objectivity and Liberal Scholarship." Originally delivered as a lecture at New York University in March 1968.

5. Deidre Hogan. "Industrial Collectivisation during the Spanish Revolution." Red & Black Revolution No. 7, Winter 2003.

6. Ibid.

7. Burnett Bolloten. The Spanish Civil War: Revolution and Counterrevolution. "Chapter 6: The Revolution in the Countryside." 1991 Chapel Hill: University of North Carolina Press. p. 65-66.

8. Ibid, p. 75.

Friday, April 13, 2012

Brother Gruesome - Mesa Session [2012]


Brother Gruesome hail from Oklahoma City, a place I know nothing about. I saw them play here in Urbana the other night, and I really dug it. They are a guitar and drum duo who play some melodious jams that can also kick your ass. The sound has a good sense of dynamics, and they're able to get away with some actually good stretches of lyric-less music -- which a lot of people can't manage as just a two-person band. I could make comparisons to the likes of No Age and Pink Reason, or perhaps say they have a kind of a Neil Young thing going on, but that is just the impression I got from the gig. Stream and download this, and figure it out for yerself.

There are two other releases worth checking out on their bancamp. This stuff is all free to download (+pay what you want), but you can grab a tape or perhaps a 7" for cheap if you're going to be in Dallas, TX on April 20.



Brother Gruesome bandcamp

Saturday, February 4, 2012

Pink Reason - Stork Club, Oakland CA [2007]


Here's a quick set from Pink Reason for ya. I just found this from a google search today, and I don't know where it came from [edit: it's from here], but it's four songs from the reigning king of damaged, self-loathing drug-punk. Includes his cover of Agent Orange's 'Bloodstains,' as well as a "coffehouse version" of the song 'Going Home,' which was featured on one of those World's Lousy with Ideas compilations.

I made up the cover art on GIMP so if you think it sucks that's why ('coz I made it, not 'coz of GIMP). If you liked Shit in the Garden, download this, why don't you?

Shortly after I posted this, the cool fellow over at Drug Punk posted an interview with Kevin from Pink Reason about what he's been up to recently. Check it out!

My train is losing steam

Friday, December 30, 2011

Grazhdanskaya Oborona - Svet & Stulja [1988-1989]



This is a band I have hinted at on this blog a couple of times, so I figured I had better post something from them. Гражданская Оборона (English: 'civil defense,' or abbreviated GrOb 'coffin') is the most famous and probably the most influential of the 1980s Soviet punk bands. The only constant member was Egor Letov, who was active right up to his death in 2008 (many of his friends, bandmates, etc. ended up committing suicide in the '80s and '90s). I don't speak Russian, but the songs seem to be about anarchism, running from the KGB (they had Letov committed to a mental institution in the mid-'80s), totalitarianism, depression, feelings of powerlessness, and all that kind of stuff you'd expect to hear from a punk band from a country with an overtly repressive government.  Musically, it's lo-fi punk (most GrOb recordings were recorded to tape on boomboxes in various apartments and kitchens) with chord changes and melodies characteristic of Russian folk music. Letov has an extremely expressive singing voice, and, like a good deal of other Russian punk musics, he communicates a desperate pathos commensurate with the fucked-up conditions in which he lived. Complete and total outsider music.

Egor was seriously prolific in his lifetime, with most of his earlier work coming in the form of homemade tapes traded among the Russian punks. My own collection of his stuff doesn't even scratch the surface, but this is a  double album of two live performances (which, you must understand, were risky and infrequent events) from 1988 and 1989 in Novosibirsk and Moscow, respectively. It's as good an introduction to GrOb as any, and the songs are all great. If none of this intrigues you, I have no idea what would. I'll finish by saying this band is one of the inspirations behind Pink Reason, who I recently posted. Here is a WFMU show on which Kevin Failure of PR plays GrOb and a bunch of other great Soviet underground bands, and shares some knowledge. The Russian sites linked below are pretty readable using Google Translate, so have at it.


GrOb official site (Russian)
GrOb fansite (Russian)
Polish blog with more GrOb albums
Everything is going according to plan